Beginners ink & watercolour. Landscape with cattle. | Cally Lawson | Skillshare

Beginners ink & watercolour. Landscape with cattle.

Cally Lawson, “Paint like no one is watching"

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11 Lessons (1h 14m)
    • 1. Introduction

      2:12
    • 2. Materials list

      0:30
    • 3. Practice sketches

      5:45
    • 4. Pencil guidelines

      6:57
    • 5. Pen drawing

      16:07
    • 6. Painting the sky

      6:12
    • 7. Painting the background

      13:02
    • 8. Painting the trees

      7:34
    • 9. Painting the foreground

      3:05
    • 10. Painting the cows

      8:56
    • 11. Conclusion

      3:31

About This Class

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Beginners drawing and painting course in ink and watercolour. Learn how to draw a simple landscape in ink, followed by adding watercolour washes. The landscape will incorporate cattle in the foreground. This is a step by step course full of handy drawing and painting tips.

Transcripts

1. Introduction: Hello. Welcome to my skill share Course I'm Callie, and I enjoyed teaching art. I enjoy teaching painting Enjoy particularly to beginners in this car. Today, we're going to be looking at painting the landscape in ink and watercolor with some cattle in the foreground and incorporating those cattle into this landscape. So the main thing to remember is when you're doing something like this, that we're not seeing every little detail on the cattle. If you look out into a field, you know that the cattle have got lots of detail in them in the same way that you know, every tree has got lots of leaves on. But when you walk in, it's something from a mile away. You're not gonna see all that detail, so you need to bring that back a little bit and make it a little bit more impressionistic and just pay what we can see. Just draw could see rather than allowing our mind to fill in the blanks. Now it's quite difficult to get a good photograph of Captain took paint from because, as those of you that are familiar with them will know that whenever you walk up to them, they're incredibly nosy on they like to come on camera, if you're trying to take a photograph, usually end up with photographs like this, whether being nosy and common up to. So it's nice to try and get a photograph, whether all let down props don't know is there with the camera. So I have actually included quite a few in the reference section for you to work from not just the one, this one that we're going to be working from today. But I do have a got drink our portrait as well. And in fact, we might do that in the future. Tutorial. So at the end of the course, hopefully you'll learn a little bit about painting a landscape and drawing a landscape and getting some distance into that landscape, making the hills appear much further away and bring in the foreground forward. And you could do that with those told cooler. So I do hope that you get the chance to load. You work at the end. I hope you enjoy these costs, and if there's anything you want to ask, actually go along, please don't hesitate to get in contact with May. You can find out contact details both on the Web site but also on social media. An easy way to get in contact with me to direct Message me on INSTAGRAM. Okay, so do enjoy the rest of the course, and I'll be back with you again at the end. 2. Materials list: 3. Practice sketches: to begin with before we start work on the finished picture, which is going to do some practice in of the basic shapes of the cattle. This will be a particular helpful for those of you that have not drawn cows before onto those of you that are not familiar with cows. Of course, there are a variety of breeds and sizes and ages of cows. So you need to look at them all individually. And you may like to look at more photographs as well as the one that I'm looking up today to get a better idea of the shapes of the different breeds. But for this project will just look at these ones that we've got here. So I've got a nice big, chunky pencil. You could use something nice and chunky like a big stick of charcoal because we're just looking at the shapes and we're just trying to be quite free with this, keeping our arm nice and loose and having a go at sketching the basic shapes that we see without worrying too much about all the detail, looking up things like their eyelashes and things like that which you cannot see from a distance, although we know that there. So we need to break these cows down into shapes. So looking at this, it's not a British sea. And I would say it's more of an Alpine scene, perhaps on the knockout. Was the time familiar? Without more familiar with our black and white Holstein, which is quite a bit bigger than this. But they've got this basic shape about them, and this is one of them with you. Look at the back very straight. If it's a good cow, it's got a nice straight back on very deep ribs here. So this shape here is very much almost. I don't belong, and this might seem strange starting off drawing account like that. But that's the shape that you see in here. And then, if you look at the head, that more or less fits into is not a triangle, but that kind of shapes. You got sculpt very flat nose, and you can see how it fits into their then the legs that one's coming in, and then we've got two legs, so from a distance, that's the basic shape of this cow here on. Once you've got those basic shapes and you can then start and put some extra detail on there and obviously round things off and start working on it. But what we're looking at is those basic basic shapes. They're going to make it look when you've got a group of cows, because what we're not doing here, we're not doing a portrait of an individual current where every last detail has to be in there were doing a group of cows, and we don't want all that detail. We just wanted to give us the impression of that group of cows lane or standing in that field. So if we look at this one here, this is again another very distinct shape when the lying down, you see the back end of the cow like this very much pointed, and that's where the tail bones going off when you draw in. Animals always think about the bones on the bone structure underneath and where things are lining up. So here a game we've got this very distinct shape of the hedge on a flattish nose that then , and they have this little round it on the top of the school again. That's bone. So if you can imagine the bones underneath. Here you have a hit bone coming up to get the basic shape him and then started out a little extra to that to make it more defined. But you don't want lots of definition from that distance again, we could just see the rear. Forgetting the reusing makes it more alive. You sometimes see the inside of the tomb. Iraq went up and then you've got the shoulder on the knees coming around again. That's a very distinct way that they lie down with the knees going forward. So this one is a very similar one. And it with this one, you can see his backbone. The top of his back got her back or his back going all the way down there so you could draw that line first and then work everything else around it. So then you can see slightly to the back of that and then this part here, going down onto the ground. So don't forget that these are very heavy animals when their lead on the floor like that. There's a lot of weight down here, so you're going to get that very distinct line and often a very dark shadow under there because of that weight of the animal lead on the floor there. So for these ones, the back again, you've got that very distinctive shipshape off a term, a rectangle with the legs coming down. And really, you couldn't almost tell that that's a cow without any of that Daito. So just do a full page more than I've done. Get a few different photographs if you can. Or if you've got any cows near you where you're out at the moment, have a look out of the window, but get a few different photographs. Have a look at those are the photographs that have added in the reference section and do as many as you can fill in the page up and looking at those shapes, breaking the shapes down into the head, the body, the legs. But don't overwork it. And don't over think about it. So this one, actually quite different because it's looking towards us. So then you've got quite a circle. Your ship circular shape there of the tummy. You can see his room put the end, another sort of circle wear ease his or her shoulders are, and then the head coming forward. So have a good scribble on a good play and keep things loose. And just look at those shapes. OK, so I hope you found that useful. You carry on and do a full page of those and really practice them before you go on to do in the painting itself. 4. Pencil guidelines: Before I begin the actual drawing, I'm going to do a margin around my paper. You might like to do this, too. It just two things, really. One is. If you do decide to go ahead and get your painting framed, it makes it much easier for the framer or for yourself to do the frame and when you've got that little extra piece of paper around the outside, But also it's a good place to test your colors. You've got that little extra piece of paper, the side there to test your colors as you go along. Another thing I like to do is to use the masking tape to take down the edges of the part. With this one, you'll see that it's actually gummed at the edge there, and I like to take it down a lonely such as, well, just at the corners, hoping you can see that I just tape it to the back of the pat so that when we start out in the water, it's not gonna move too much. Now we can put in a few pencil guidelines, so don't need to put lots of detail in with a pencil because don't forget we put putting that in with the ink afterwards. Now, if we look at the photograph itself here, there's a lot of sky compared to foreground and mid ground, and I think it would be better if we give ourselves a little bit more. What's room to work to get these cattle in by making less sky. So I want to start off a little bit higher up with the mountains and things. I think the easiest lying to begin with is to get this line in of the ground, and it comes about 1/3 of the way across here and then slopes away. So if you just do a nice sweeping slope, and then that gives us a little bit more room to draw the cows than we would have if we don't put all this sky and as it is on the photograph, if you want to do it exactly the same proportions as the photograph, what you can do is measure each of these lines here, here and here to get the proportions right. I like to do things by I, but if you do want to use a ruler that's absolutely fine, it come build you confidence views in a ruler, but you can just check things as well. So if we look at that measurement there of the height of the trees at the corner, there is pretty similar two from the ground to the top of the trees there. That gives you an idea of how far you want to be going about here somewhere. And that's not a dead straight line. It's going up and down. But that just gives us an idea of to where we're going to be, drawing the trees in afterwards with the pen. Okay, so we've got the foreground. We've got this line of trees here, and then we need the line of the top of the hills Were not going to put all this detail down here. We're just gonna look at that line of the top of the hills. So if again, if we look at the depth here of that line of trees, it's about half that. It's about that measurement to the top of the mountains. There. Like I say, you use a ruler if you feel you want to. It is difficult, actually, on this photograph to see where one mountain stops and another starts because it's very hazy in the distance. It's a line things up. If we look at the peak of this one here, you can see it comes just to the right of that area. Where the trees did down there on the hills at this side are a lot lower than the ones that this side and I think perhaps we've not got the ones at the other side. Quite how enough, if we look at that, that's a better shape for that one. But we could put much more detail in with the pen were just plate in things at the moment, and we will now position our cows. So if look at this one here, it's actually going over the horizon there. Like I said before, it's got this round shape to it. But again, the detail can come in a little bit more with the pen. But don't get bogged down in details. Just gonna put on a turn there for those horns. A square is often enough for the mouth Justin indicator of where those eyes are. That's probably enough for that one there this one's actually walking towards, so if we line up the top of his head or her head to the top of that one. It's about there somewhere thinking of Maybe made the cows a little bit bigger. More perhaps. No. So again, the very square at the front. And because the walk in the legs there are crossed a year in When was this wish of the tail there? Okay, so I'll carry on and put the rest of the cows in, and I'll come back to you when they come and put the income. 5. Pen drawing: once you're happy that you've got enough pencil guidelines in there, you can go on to do your pen. So I have to much pencil because we are going to want to erase that afterwards. So this one I've got is a size no 10.5. I like to use quite a small one. When I'm doing something like this, get a little bit more detail in news. Foreground cows. It doesn't matter on the brand of pen that you use. The most important thing is that it's water faster. It's not gonna dissolve. Move into the water when you put the water on top of it. So if you've got pens at home that you're not sure whether the water faster or not, just give them a practice. Do a little bit of drawing on some scrap paper, allow them to dry and then go over with a little bit of water and see whether it moves are not so. And he also wants to be like fast, really, because you don't want it to fade over time. Okay, so to begin with, you know, like I said earlier, we're not doing any drawing in the sky. That soldier is going to be painting. And usually when I do a landscape in income wash, I wouldn't do any drawing in the sky. Some people do. Some people like to draw the clouds. That's entirely up to you, but I will leave it as it is. So with the actual hills in the distance, if you're just doing a pretty picture on, it doesn't matter whether it's that particular place. Don't worry too much about getting each hill exactly right. If you're doing a local scene where you want it to be recognizable and you don't want some dissent, it'll that Hill isn't just right and that doesn't look like so. And so then you want to be more accurate. So that is entirely up to you, really. It's quite difficult to see where some of these hills start and finish, because it's very hazy in the distance because it's obviously some miles away. So keep that in mind when you deciding just how much detail you want to put in with those hills and start with the further still away to begin with with my pencil drawing. I've made that far too big, so this is where you can start incorrect, You pencil drawings and it's just a little dorm. There again, have got that one. They're going away too far down, so you can alter things with your pen as you're going along. And I think that's another hill there. Like I say, you really can't tell at that distance. So just the line of the top is enough. We don't need to put any more detail in the bottom there, and that line disappears into those trees. So I'll continue on now, getting all these lines of the hills in a combat you in a moment when we come on to the foreground trees. Okay, this hill here is clearly very steep, so it's a good idea to just to get one or two of those lines in to indicate that that is very steep There. You might also want to put an indication of some of these shapes down that we can see in the bottom here, where it turns more into fields rather than the forest that we've got there on the same straight lines of some agricultural fields on maybe some roads and things down there, I'm not sure, but just put an indication of those. And don't worry too much about holy actual detail of those. And then we can move on to these trees. Someone has start by doing this line here, actually, because it's quite an obvious line. And if we look now, I've got this cow in the wrong place because actually, these two cows here break that line. But if you remember, we did make that line bigger than it waas in the original. So some of these cows are a little bit larger than others, probably different ages, but also closer to the camera. And then don't obsess about every last tree. You'll scare British indication of the shapes here. We've actually got two lines of tree here. We've got this smaller role in the foreground again. You're gonna have a lot more time than I have to do this pen drawing. I just want to do it quite quickly as I'm talking to you, to not bore you whilst I'm doing it, but just get a rough idea of the shapes their first, and then come back for a little bit of extra detail and shadowing on it immunized to get some of these shapes on the horizon here, going in little triangles like the top of a Christmas tree there. And you can see you want two of these lines coming down, so be a little bit impressionistic with it. Don't try and identify every tree. Otherwise you will be there old day. So I'll carry on now, going to much more detail. And I will go up a lot darker in places as well. If we look how dark is there? Your drawing style is a very individual thing, but I like to keep the trees is impressionistic as I can and not get bogged down in the each individual tree on branch because you would, your eyes would go for me doing that. If you feel that way is one of the same. Someone takes time. Don't go looking really good. Friends are way for someone. Don't go looking way. Could be just sure. Space between back from aside chances. Leo way. Just one thing. Remember, in a way you could sure way now we could move on to drawing the cows. And don't be tempted to, like I said earlier to put too much detail in just trying. Keep to those basic shapes just indicate where the eyes are. You can see on some of them where the eyes up. If you can't see that detail, don't put it in. The other thing is, I'm not sure how much details, but a natural grass itself. It might be nice just to leave that to the paint. Or you might want to put one or two indications of some little bits of grasses and these bits of modern things on, but obviously going to need to get these shadows in of the cows as well. Because we've got that very high storm. They're casting these shadows. Nice bright day. You'll notice that my cows out positioned exactly right. I'm not worrying too much about that. Like gave each ourselves a little bit more ground to work with at the foreground there and gave us ourselves less sky. So this cow here is definitely much closer to us, and you can tell up because you can see a lot more detail in the trees here. This one's I think, this grounds going away here. This is perhaps a little bit further down the hill. I've also indicated a little bit of this line here because As I was doing it, I realized that that was actually a role of a hill of trees further away rather than part of this row of trees and wanted to extra lines down here. So I'll go ahead now and do the cows. I'll be a little bit more careful. Spend a little bit more time. You might want to. Where I've gone around the cows here, you might want to leave more space that just to make sure that you've got it right, if you're lucky in that little bit of confidence, perhaps do the cow first and then put the trees around what she relatively happy with your cows. You can go on then and put some shadows on and maybe, like said some little bits of grass and things. I just wanted to mention one to Mars shapes you should really be looking at. So we looked at the basic shapes there, a couple of things about cows that make them quite distinctive and gives you just an extra line can just give you that shape. So one of them is the nay, your look at all the knees, the coming out quite a bit so If you get a little round shape there on the knee, that's gonna help get that shape of the cow deal. There is the tailbone where the tail goes up here. That's quite a distinct shape. And it was sort of arches up. If you can see that there on that again will make it much look much more like a cow than any other animal in the distance. Okay, so I'm just gonna put 11 or two bits of grass. Handsome shadow. You could do this shadow in paint if you wanted to. That's entirely up to you. But I'm just gonna put an indication of some shadow with depend to begin with very much underneath and close to the cows because, like I said earlier, it's obviously quite nice. Bright, sunny day, probably mid summer where we've got all that green very dark underneath. Where the let down. Of course, if it was winter, that be inside anyway. So that's another indication that this is, you know, quite a summary picture. Now you must put shadows in with things like this because that immediately can you tell has made them look more like the grounded. More like that's where they are in situ. Don't be frightened to go quite dark in places like under the trees, right? Did he have gone really quite dark? And it just saves your time with your painting as well, Because don't forget with income wash the detail really is in your pen work. You might have more detail, and I have business. You have perhaps a little bit more time than I've had to do this. You might get a little bit more accurate, like do some measuring if you want to do. But the detail is with your pen, not with your paint, so make sure you get that in there. So I did met one or two mistakes with the pen, and the thing is, with the pen, you can't rub it out. I got a 1,000,000,000 intimate model here between the I and the year that looks a little bit of a mess. The thing to do then, is if you're going wrong, believe it. Don't keep trying to alter it with your pen, because then you end up with the penguin darker and darker, and it will draw the eye to that mistake. If you leave it and go on to another area. It's gonna be much less obvious to anybody looking at it that that was a mistake. They won't know it was a mistake. But there I will be drawn to If you keep trying to fiddle with it and alter it, I'm just gonna put one or two lines to indicate where that hills going to think it's going over that way again. If we make this more of a foreground than the back down here, we could see the grass ease which closer together, a much smaller in the distance. You might know you might want to just leave that white without any pen there, and we'll just come in and put some nice cooler on there with the paint on. Two bits of modern things and bits of grass is in the foreground, but you'll see I'm keeping that very open very loose. Okay, so I'm gonna leave that for the pen drawing. So once that's dry, just give it a few little minutes to dry and just going all to that knows once that's dry. Then come along with your a razor and get rid of all your pencil lines before we go on to the next stage of putting your paint on 6. Painting the sky: for this guy. I'm going to use a mix off cobalt blue and cerulean blue. You have a look and think which blues you think suits that sky or much. Is it best and have a practice. Like I said, you can practice your colors in the margin colors. Very subjective, real see color differently. So I don't really want to dictate you, which cause you have to use you make your own judgment and alter colors if you want to as well to make a more interesting picture. Don't forget you're making a on artwork. You making an individual piece of artwork. You're not slavishly copying a photograph. So if you do want 12 2 things, then do. But like so dearly, I think this is probably an Alpine scene. Um, and I think the middle of Soma, in which case Cerulean blue, is probably quite appropriate. I'm just popping a little bit of the Cobalt into that, and ultra Marine probably wouldn't be suitable for this. A makeup plenty. So what a nice big brush to get plenty of water in there before I apply my paint to the paper. I like to wet the sky area first but just make it dump. Don't make it really worked, so use a really nice big brush. Cover that sky area and allow that to sink into the paper a little bit before you start working on top of it. Don't immediately go and paint onto that. Allow it to sink into your paper. And how much water you have in in both your paint on the water you put on to begin with is really going to depend on your paper that you using. So I would suggest always having a paper that's more than 100 £40 or 300 grams in weight. Less than that, and it really won't absorb as much water as you would like it to cover the whole of the area. If you tilt your head to one side, you'll be able to see if there are any dry patches where the light's not shining on the water. Remove any excess dribbles up poodles. You have that nice and flat, and not to sopping wet, so it should be dump not wet, and just give it a few minutes now, to just the shame will just go off it a little bit to leave it to go a little bit dull before you apply the paint. Whilst I'm waiting for it to do that, what I want to do is get a tin of pencils. He's quite handy and just prop my paper up a little bit. You might like working on an easel so you might have it propped up that way. Okay, so I'm just allowing that now to sink into the paper. Okay, So once you happy that the shines more or less gone off that and it started to sink in a little and go a little bit dollar, you can start on, apply your paint, but before that, have some tissue at the ready. Okay, so I'll have one piece of tissue just scrunched up near the side of the painting. And water do is often dubbed any excess water off. Because what happens? I don't If you can see in the camera there, you pop your brush into your jar to clean it, and you end up with water on here. And then that could sometimes drip into your painting and spoil it. So I have a little piece of tissue at the side and every now and again, you could just tap your brush off if you feel you've got too much water on it, so loaded brush up. Have you brush wet before you start or dump? If you try loading your a dry brush up with paint, it won't take as much paint as a dump one will and get that nicely full of paint and start and go all the way across. Now this may very depending on whether your left handed or right handed, just to which way, across the paper ago and again, all the way across again. Okay, Now, at this stage, this is where you need your tissue. Now you will see the on some of those clouds in the actual photograph. There are little bits of gray and things in there, but I want to keep the cap sky very, very simple because the thing about this painting is the detail is in the foreground in the cup cows on. That's where we want the I to go to so we don't want a complicated sky. So alter your skies, depending on the subject that you're doing and where you want the emphasis to bay. So just scrunch a dry kitchen towel up and lift out some clouds here and there. And they don't have to be exactly the same as they are on the photograph, because clouds shift and move. And nobody's gonna know that that cloud was exactly in that position when you were doing your pain, Tim. A few more further up to make a bit more of an interesting Skype. Try not to make them all the same size and try to make them a little bit on even. It's quite nice to have some lower down, just tiny bits, and that's enough. We'll leave that now to completely dry. 7. Painting the background: because for the background out too much different from the sky, you want to make them a little bit grayer and a little bit stronger. So wanting you some of that sky color so that we don't waste it for the furthest away hill , which you can hardly see, I'm just going to add a tiny touch of raw sienna. You could use yellow close well on a little bit of a littering, which would the blue will give us a nice gray color, so it's gonna be slightly different to the sky on a little bit stronger than this guy's. Well, that slightly more pigment, we got less water, more pigment to make it a little bit of a stronger cooler. So to make you graze your distant graze, you need your three primaries off yellow, blue and red, and I like a littering, but you might want to use different colors. Just have a practice with all your different primaries, and again you contest that in the margin if you want to, so we need a similar color for the next mounting forward, but again, perhaps a little bit stronger. So try and lift some pigment without using any extra water. Don't add any extra water out of the jar into this mix is just a stronger pigment than the first ones, and it's important that you allow your sky to drive the cost. Otherwise, these colors will run into your sky when you start painting, because this is slightly closer tours than the last mountain on when I add extra yellow compared to the red. So it's more of a green gray donna Move gray. So very, very slight difference in those that's for the furthest away hills. So the next row of hills, then, is quite a lot stronger. Try and get some of this in, but we still wanted too much more on the blue side than the Green Side, because there are long away away but much more pigment in these not so much of the Saru lian in this more of the cobalt, much more of the yellow this time and again. Like I said before, Kohler is very subjective. You do, which cause you would like to do, and if you want to make a much more vibrant painting, that's fine. It's more important that you have your tones right, so by that I mean, the depths of color because of the hills in the distance have much less tone than these cattle in the foreground. So if you actually looked at this picture in black and white, that will give you a really good indication of what you need is strongest tones. We could see that so much thicker cooler, and it's gonna be a lot darker than the other two. With the painting of the distance, I'm not going to actually wet the paper first. I'm just going to go straight on to the paper with those cause that we've made up ready be quite precise. So I got a much smaller brush on this. First color was just for this tiny little one here. The second color was the ones coming forward from there. So that's these ones here, and you'll see that by altering the amount of yellow in there on the amount of pigment we start to come. A little bit forward factor may even take a little bit out of that background Hill. I just feel it's a bit too strong, so this brush is about number six, and it's a nice round one, and it's got a good point so that I could get into all these areas that were drawing with drone with the pen. You need to do that all before it starts drying out, and then you don't get any hard edges. So with a dump in sorry with a duck brush, I'm just gonna lived a little bit of the pigment out of that furthest away hill. Okay, so they were going to come forward with the stronger cooler and here where you meet in the trees, just jiggle. You brush a bit, get in and out, going in a known to your uniform. Line some of those edges of those branches if you want to. You can allow each of these mountains to dry before you go on to the next one. Because if you do touch, they may running to each other. And that's another good reason for just having that little pencil tin there letting the paint flow forwards. And here just gonna giggle, brush a little bit. That's all going down towards where it's perhaps a village or something in the bottom there . So if you do want to leave little bits of white paper here and there you can makes you a little bit of a more. It makes it a fresher field to the picture. Have some of the paper shining through. That's pretty. Watch the style of income wash. Really? I was gonna go down with some of those shapes because this is much closer to us than this mountain. So we're gonna put a different color in there as we come forward. - I'm just gonna claim a brush out that because just looking. I think this role of hills here wants to be that first color the same us this one over here and will allow those to dry before we go ahead. Do this foreground one just looking there. It wants a bit of tired, You know, you do any tired, you know, we do it with a damp brush, not a wet brush. You don't to be introduced in any extra water into their Don't worry too much if you've got little room backs and things because it can easy look like a row of trees on something in the distance. Look, a bit of a misty mountain. Okay, so we'll leave that to dry before we do this bit for this part here. I'm not going to waste the paints. I'm gonna just make one of thes more green. So if we at I just went that brush a little bit, some are off the raw sienna to that woman, and it doesn't need to be loads because we still want it to be quite a gray color. We still wanted to be in the distance. That's just going to make it a slightly different color to be a bit more in the foreground , and I will use that also for some of these areas here, you're a gain a lot closer to us by overlapping some of this pain that you've already got there. Some of the grey you're going to make it look a bit more interesting. Follow one or two of these lines going between the trees, and then we'll do this block off hill here that's presumably covered in trees By doing a section at a time like this, you paper doesn't get chance to dry out too much, so that gives you time to paint without ending up with those hard edges that we can get when it's drain out very quickly. Rather than tackling every hill. All that one's just do wanted to time just dragging a dry brush across that now not just going to give a little bit of texture in there. Because, like I said, I think that hills covered in trees so I don't want any detail in there, but we do want it to look like it's a little bit different to those background hills. So the last color that I'm going to put in the background is going to be a little bit of that yellow mixed with a tiny touch of something out of the palette that we've already got . So get that yellow on its own would not much water. I like raw sienna better than yellow Oka. When you mix it with other cause, it doesn't seem to look as flat and Mahdi. So I'm gonna just add a tiny touch of that second gray to that so that it's yellow. But it's not gonna be jumping too far forward in the picture, and then you can see about here. We've got just some touches of cooler where the sun was shining. Probably these air fields down below where it shot grass, so the sun was going to be shining on those a little bit differently to this, the rest of this grass higher up in the mountains. And it just gives you a point of interest there where I conceptual is. Well, very much a focal point, but not as bright as anything that we're gonna have in the floor ground. If you have his bride to call us back here, as you do in the foreground, your eyes gonna jump there and not look where it should be. Looking in the foreground with the cow has been the focus of the painting. Okay, so once again, before we move on to these trees were gonna leave all up to dry. 8. Painting the trees: while sales background hills a drain, we can move on to making some pain ready for the next step of the trees. I'm gonna make three different greens. We've got a lot of shadows in the base of the trees because of the sun being midsummer and being quite high, it's very dark underneath those dense trees. However, we've already got some of those darks in there with the pen, so I don't need to go to doubt with the watercolors. Although we do want these mixes to be a little bit thicker than the first mixes because we want the foreground to come forward and to make the mountains go further backwards. So we do two things use more pigment, but also use more yellows in these as well. Because yellow is a color that comes forward. Where is blue is a color that recedes. Now I'm gonna use a ready made green. Not everybody likes doing this, but I quite like this sap green. But I always add all the things to it. So if you wanted to, you could continue making your own greens. Probably using cobalt on the Ross Yetter that were used earlier, and maybe some captain yellow as you come towards the foreground. So I want to make three mixes of the green, and then I'm gonna have different colors into each warm and have him already before we start painting these trees. So a similar amount of green in each of thes Pollitz And in the 1st 1 we're going to use for more shadow cause from darker areas. So in this one, I'm going to add some blue. If you wanted it to be even darkie could at some ultra Marine. I want to keep it quiet Light Like you say, We've already got some of those shadows in with the pen. We just want some nice washes to go over the top of that pen and still allow the pen to show through. So not too dark, but adding some blue to that. And you can see I've got nice, darkest green for those shadows. The next one, I'm going to just add a little tiny touch of Eliza ring to. And other than that, we're gonna keep it pretty much as it is. Eliza Rin or red is on the opposite side of the color wheel to green, and it makes a little bit more of a natural green than the green just on its own, straight from the Tim. And in the last one, I'm actually gonna add some cab me in. I'm gonna go nice and bright. Like I said, to bring these colors forward to bring these trees forward and to make the mountains appear further away. You might like to stick to the Sienna at this point and make them look a little bit more natural. But I want to make it nice and bright and have that nice, bright color could implode. Now, without colors ready made up in these mountains nice and dry. It's not going to take us very long at all to put these trees in. So we're gonna do is mix these three callers around very randomly and allow them to flow into each other. Put in the more yellowy one on some of the tops of the trees because obviously the sun's gonna be capturing high rope. Don't worry. If you overlap some of that background, I was going to give you more tone and shadow. This brush holds cracked a lot of paint. How quickly you can do this will depend on your brush. You don't want it drying out too much because we want the colors to mix into each other. So no overthinking it. We've already got the drawing there. We've got the structure of the trees. We don't need to worry too much about actually drawing with the paint. Just getting one or two of those tops of those trees is if the student shining on it there , then we'll go with the middle cooler. Just allow them to flow into each other. And this is why it's important to have all three of these colors pretty much the same consistency, because as they flow into each other, you don't want them to be cauliflower in on portal in her and making a mess, so keep them all a pretty similar consistency. So in some areas mixed these calls together more than others and in other areas allow that first colleges to be on it. So don't worry about allowing a little bit of the white paper to show through, either. That gives us some nice highlights and glimpse of sunshine as well. So here and there just late, leave the white of the paper to show through. So this is a very quick process once you've got the paint made up. So that's the important thing is have that paint made up ready so you're not mixing as you go along. And then some of the darker cooler but the base of these trees and in between them, where you've got shadows cast on from one tree onto another. You're just giving a very brief impression of the trees. Not going into that much detail carefully go around you cows again. That's why you need to go brush with a nice tip to get around your cows. Don't worry. If you go over onto field, that's no problem. And again, don't worry. If you leave little bits of white here and there just a light in the whole thing up around this guy and then just really just drop in the cooler into the colors that are already there. So I've still got three distinct colors and then other areas where the cause of mixed together So we've got all sorts of different shades of green in there, giving the impression of some shadow on light carefully round is own Hoen. And if you wanted at this stage, and you wanted to like and even Mara don't think it really needs it. But if you did want to, you could actually just a this stage. While it's very wet and still very where you could just get some yellow on your brush straight from the pan and just pop it in here and there, where you want the light to catch even more. That's entirely up to you. How bright you want your painting to bay Think it's nice to really make those trees come forward, and it helps to send those mountains into the distance. Middle grounds are always the trickiest area I find to make look the most convincing, but I think that's enough color in those trees. Just tidy up any one or two places with a little bit more of the dark. Okay, and once again, we'll leave that to dry 9. Painting the foreground: whilst the trees were drained. I've made up a nice big mix off the raw Sienna. But into that, I did it again attain a little touch of Eliza Rin. Because if we look at the photograph, the ground is quite orangey rather than just the yellows. It's very parched and burnt. And I just thought that tiny touch of Eliza ring I would just give us that color a little bit better. But don't overdo it with the lettering. You don't want too much. So I'm gonna just cover the whole of the ground down carefully, go around each cow, so this may take a little while. I don't really want you Call us to be drying out too much as you're going along because you don't want any hard edges. So loaded brush up makes you got plenty of paint on your brush. If you were worried about having the heart having the hard edges and not been able to paint this quickly enough, you could wet the paper first around your cows. Now, once again, whilst it's still very wet if you wanted to, you could just add some neat colors into that just to give us some undulations in the ground, some shadows and bits of grass. You don't want this to be a very even looking wash. You want it to look Apache as the ground is the so just some lines dashes. So my impression of some marks on the ground nothing to deliberately draw. And again you could put a different color. And if you want it to this stage, you could put some of the brown in. So this is the number, but I really don't want to put too much detail into this foreground. Ground will save that for the cows. We've already got the detail with the drawing. We don't need to be over paint in this, however you just that little bit of a thicker cooler. It gives us more of a feel of the soil beneath that very short grass there with the parched land. And leave that to completely dry before you start working on your cows because you don't want the colors from your cows to go out into the ground if you want to, you could perhaps put a little bit of green, and there is some green showing in that distant grass there. I'm not going to I think it's just nice to try and keep that quite simple 10. Painting the cows: while some ground is drawing, will have a think about some colors for the cows. Now you don't have to do them that the colors that they are on the photograph. But if we look at them, we've got some similar colors going on. I would say this one here is very much a burnt sienna, so you could almost use actual straight from the pan and make plenty of burnt sienna rope. This will also behind it for this cow on this side as well. This cow here is almost the same color as the grass, so we could neatly just use this for that cow. I'll just add a little bit more of the raw Sienna to that plenty of water in that one, actually, because that cow is quite light in color with the sun shining on, it's yours to be nice and yellow way, sort of almost a gingery color, really. So we will keep a little bit of that radical. Or in that the darkest one of the bunch is this one here. But that's more or less. The Sienna just get a little bit of water mixed with some blue makes a nice, dark calculus. So we could at some ultra Marine so French Ultra Marine, I'm burnt Sienna make a nice dark cooler for an animal, and we might not even go as dark as they are on the actual photograph. Just want to keep it a night light, little picture. And then this one here is much more of a brownie cow. So think will use that number there. So I got the wrong number and we could add some of that dark into it as well in places to give us some of those shadows. But we want to keep these simple. We've got the shadows there already with the pen, So that's OK for now. We might want to mix a few more up as we go along, but we're not gonna be put in lots of color and detail on those in the to begin with. If we think about the two cows that have got white on them, actually, three of the cows have got white on them. It's no, actually white. It's not as bigger highlight as you think. So get some water in a clean palette and just add into it. A tiny touch of one of these colors. So we've just got water there with a tiny, tiny torture of coloring. And that's just going to make that white of those cows because it isn't the white of the paper. I will begin with that cooler. It was going where it's delighted. In fact, we can go over the whole cow because I've put that color on these three cows that I have the white And, as you can see, this type a tiny, tiny hint of color, but absolutely something enough in there. So don't overdo it without in the color there. So I'm going to start now, while so the drying and this is a good thing. You can work on one cow while another one drives with that middle color that we made up off the burnt Sienna on the Ultra Marine, which was nice and dark. And he's she he she is pretty dark all over game. We've already got some of those shadows in with the pen. I do feel we need to be darker than that. If you want to be much more precise and use more colors, a wider range of cause to get more detail in the cows. And of course, you can have more time than me. Hopefully, so I will actually just add some extra ultra Marine. I'm sorry about that. I think there's a motorbike. Austin singling Pastor, Come here. It's quite noisy. Make a thicker mix in the same part of that Sienna and the ultra Marine. And while such still dump will just add that into where it's the most shadowy, so much, much lighter than the original picture photograph, just drop it in. There's one of two areas where it's a lot lighter, so on the tip of its tail, the legs are quite dark because obvious e they're not seeing much soon. I think for that one, that's probably enough, he said. We've got the detail with the pen, but if you look was just a little bit of brown on the end of his nose, who knows? Okay, on this next one, so we'll use this just CNN or on its own, maybe a little bit brighter than the cow in the photograph. But it's a lovely bright color on again. Don't forget, you can do these cows were ever call you want. You don't have to do them the color that's on the photograph. You could do them all the same to make them look more of a unified. Heard entirely up to you. I'm gonna use with that dark color from the 1st 1 to go underneath. Tell me of this one. Allow those colors just to mix Walla still wet, and it's just gonna make him a bit more three d Getting some shadow under there. I'm gonna get tiny to achieve yellow. Quite a bright yellow, The catman straight from the pound. Just pop that on the top of the back there. Game just gives us a little bit of sunshine on the top, but don't overdo that he still want that ready cooler to be the dominant cooler on the next one. Here, this number that we had the roar number. So the whole idea really with income washes that you've got your detail there with your ink on. You just pop in some colors over the top to give an interesting little picture. You're not necessarily doing it as it is on the photograph with all that extra detail. Okay, Now he's not showing up much from the background there, So we're gonna use this brown again. Put some shadows in. So just mixing the colors that we've got on the paper and some of that red as well because there's a little ready tinge. If you look at the photograph, you can see there's a bit of a ready tinge on the top of the back there again, where the lights catching and it makes the color change. So the foreground one here again is that nice red that will just build toe add in. Some have gone over where it should have been white. Actually, there have managed to cover up, so just get out. Just think about those shapes you talked about earlier. I've got that nice point on the back there, and that's the hip bone. They're going up to get those nice points in with the paint as well as you did with your Penn earlier. Okay, I'm sorry about that. I have lost some film there. I'm not sure until I go back and look at it. Whereabouts are finished there, but basically just using those few cause on the cows if you want to, you can use a much wider range of color only cows. I did leave a little bit of light on the side of this one's face, and on this one's face, I took a bit more on of that color and added some extra shadow. If you wanted to, you could add some shallow using some of the greys from your mountains that you've got left over in your palette as well. 11. Conclusion: after you've completed painting your cows, allow them all to dry and allow everything to dry completely. Go away for a while Poppy painting on the side. And as you walk past it now and again, you might see little things that you want to old toe. So it's a good idea to live with. You paint him for a couple of days, like I say, Put it on the sites. And where were you gonna be? Occasionally glancing at it, Because when you look at it with fresh eyes, you might see things that you want to change. You may want to add a little bit more detail to your cows. You may want to add more shadow. I'll just pop a little bit more shadow of that dark color. Just for a moment, my paints have dried out. I was just going to get a little bit more. Just pop it under there a little bits of things like that. You might just want to do as you come back to you paint in a day or so later. The other thing that I thought I would do on this if you look at it, we've got that little nice touch of yellow on the top of the trees, where we decided the sun was shining on the top of the trees. I just feel we need to bring that yellow down into the foreground, so I'm just going to get mixed. A little bit of that cab, man, That was the nice cadmium yellow, nice and bright with some water there, so it's not too thick. I'm just going to sweep a little bit of that across the ground in front of the cows just to bring a bit of sunshine to this area and bring that yellow down of it but not overdo in it . Not dry lighter than it's going on, but it'll just lift that little foreground area a bit like sit before you just pop a bit on top of one or two of the cows as well, just to bring the sunshine onto those. But don't overdo that. So I think for myself that's going to be enough. I'm going to leave it at that. Like I say, you live with it for a while. Look at things you might want to alter and change, and also at this point assess it and assess what you really like about the painting on what you don't like so much and make notes for next time so that when you do your next landscape , you'll think, Oh, yes, I'll do that again because that worked. Or maybe I won't do that that way because I wasn't quite so happy with it. So it's always good to date you work. So put the date on the back of your paint in, so that you know when you did it, so that next time you can look back and in a year ourselves time as you progress, you can look back at your earlier works and see how you progress in. So to conclude, I would really like to thank you very much for taking part in this car, so I hope you found it useful. My aim really is to build confidence with your drawing and watercolor Onda. We would do many more income watercolor tutorials over the coming months. If you do get the time, it will be lovely. If you couldn't load, you work for everyone else to see for myself to give you some big back. And if any time you'd like to absolute comments. Please do. And also you can contact me on Instagram, if you would like to ask me. Some questions are indeed if there's a particular subject that you would like me to do in the future. As I have said in the past, the best way to gain confidence with the watercolors is to keep having a go do a little bit every day. I'm familiarize yourself with your callers, you bro. She's your paper and everything that you're using on with the amount of water that you need . I will be back again with you soon, both here on skill share and on YouTube. But in the meantime, enjoy your painting and drawing. Thank you. Bye for now.